Word: rubato
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...Mortua” (“With the Dead in a Dead Language”). The only real disappointment came with “Il Vecchio Castello” (“The Old Castle”). The simple, lilting 6/8 trochaic rhythm was stretched out with too much rubato, completely obliterating the evocations of Medieval troubadours and trouvères. Despite this flaw, Kissin still managed to play one of the most problematic and unidiomatic piano works like it was the easiest thing in the world, without changing a single note (unlike Horowitz, whose infamous reworking of Pictures remains...
...Actually, the inclusion of this piece was surprising, given that the concert calendar had clearly indicated that the third concerto was to be performed.) Zimerman is known for his wonderful tone, and this concert was no exception. Whereas many pianists have corrupted this work by indulging themselves in rubato and unnecessary histrionics, Zimerman played with nobility, straightforwardness and a real sense of purpose. The orchestra provided the big sound needed for the work, but several mistakes in key passages as well as some shaky coordination moments with the soloist prevented the overall performance from reflecting the exceptional quality of Zimerman...
...relate organically to each other, as is the case with the greater master-piece, the Fantasy Op. 17. Although Zimerman seemed marginally less comfortable here than in the Chopin idiom and sometimes shortchanged Schumann's dotted rhythms, the middle movements especially were full of fresh phrasings and well-judged rubato. The finale is fun music, and Zimerman seemed to be having fun with it. For an encore he gave the F-sharp Romance, Op. 28 No. 2, informing the audience that it was the last thing Clara Schumann heard before she died. This was amazing, drop-dead gorgeous playing...
...followed a "Moonlight" Sonata that sounded, in the honest estimation of one concertgoer, like Perahia "had to go to the bathroom." This rendition was hasty and short on detail, but Perahia wisely observed the printed note values for the dotted first theme, which these days tends to degenerate into rubato soup. The capital offenses were in the finale, where often his left hand growled indistinctly or pounded an ostinato where it should have been a more sensitive accompanist, and once he even wandered into a thicket of wrong notes. It made one grateful and Perahia did not have access...
...sensibility and use of stylistic devices like tremolo octaves are very reminiscent of McCoy Tyner. But Rubalcaba's lines are even longer, and his touch more commanding, than that of John Coltrane's former pianist. Rubalcaba's improvisations are heavily patterned and rhythmically defined; even when adding dissonances or rubato to his playing, it sounds quite calculated and logical...